November 2015

Hot KNARF Pushes a Graffuturist Organic Edge in BK

Hot KNARF Pushes a Graffuturist Organic Edge in BK

Currently in Miami painting by a bus stop in the midst of the Wynwood storm, Austrian Knarf brought his sketchbook to life with characteristic wit and rhythm in Brooklyn last week on a large wall in Bushwick. The echo of lines and patterns may recall Japanese prints and the organic rippling of water on the shore or radio waves.

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Knarf (photo © Jaime Rojo)

The hand-rendered extemporaneous quality of his blocking and texts keep you in the moment, the movements imperfect, the unveiling of sophisticated forms and palette a surprise. His is a studied interconnected biology and geology, shapes and abstractions, the foundational elements in black and white with a selected primary geometric form to make the contrast surge. With shout outs to Jes, Jaime, and his own Irga Irga Crew ((Mik Shida, Fresh Max, Mafia_Tabak) the bio and morphic dance into a third dimension here, bisected by a diagonal bar of aerosoled green, keeping it geometric and pushing Knarf right out onto a newer edge of the graffuture.

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Knarf (photo © Jaime Rojo)

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Knarf (photo © Jaime Rojo)

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Knarf (photo © Jaime Rojo)

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Knarf (photo © Jaime Rojo)

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Knarf (photo © Jaime Rojo)

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BSA Images Of The Week: 11.29.15

BSA Images Of The Week: 11.29.15

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Rounding out the Thanksgiving week here as people think back on what they have to be thankful for in New York and across the US. Despite the class war on the poor, near-weekly proof of systematic racism and extremism, gun violence that feels out of control, and 3 songs on the top ten by Justin Beiber, we have to admit that all is not lost – and we still have a pretty strong union of cool people who actually love our neighbors and multi-cultures and are willing to show it every day.

The art we see in the streets continues to evolve; People like Gilf! are combining experimentation and activism in the public sphere while others are looking for ways to address a variety of social/political ills, – meanwhile many artists now seek and secure legal spots to put up their work, use hash tags and Instagram as marketing directly to collectors, advertisers are mimicking street art to promote brands, and Wynwood in Miami is preparing to showcase some of the flashiest displays of sponsored murals and participants yet during Basel next week.

There is a rising chorus of horrified detractors who say an organic grassroots art form is being commodified. It’s not political enough! It’s narcissistic! It’s all privileged white kids who don’t appreciate the true roots of graff culture! Calm down everybody, we can handle this. There is room for all ya’ll, like they say down south.

Here’s our weekly interview with the street, this week featuring Ai Wei Wei, Dee Dee, Ernest Zacharevic, Gilf!, Gum Shoe, Himbad, Invader, Isaac Cordal, Jilly Ballistic, Le Diamantaire, Osch aka Otto Schade, Ouizi, Sipros, and Swoon.

Ernest Zacharevic interprets Martha Cooper’s photograph of Lil’ Crazy Legs. This is their final piece in this collaborative series.  (photo © Jaime Rojo)

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Ernest Zacharevic interprets Martha Cooper’s photograph from 1978 of this boy playing with a makeshift gun from the leg of a baby’s crib. (photo © Jaime Rojo)

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Ernest Zacharevic interprets Martha Cooper’s photograph from 1978 of this boy playing with a makeshift gun from the leg of a baby’s crib. Detail. (photo © Jaime Rojo)

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Ernest Zacharevic interprets Martha Cooper’s photograph from 1978 of this boy trapping flies in glass bottles. (photo © Jaime Rojo)

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Ernest Zacharevic. Adam De Coster (photo © Jaime Rojo)

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Tongue in cheek, Ernest Zacharevic’s ironic blend of brandalism and vandalism.  (photo © Jaime Rojo)

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Isaac Cordal staged a scene of drowning businessmen in this Manhattan puddle. (photo © Jaime Rojo)

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Jilly Ballistic (photo © Jaime Rojo)

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Gilf! continues to influence the conversations around rampant inequality and with her “gentrification in progress” tape project, now outside the museum, someday in the museum. (photo © Jaime Rojo)

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Ai Wei Wei (photo © Jaime Rojo)

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Swoon . Ouizi (photo © Jaime Rojo)

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Swoon . Ouizi. Detail (photo © Jaime Rojo)

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Sipros for The Bushwick Collective and Mana Urban Projects. (photo © Jaime Rojo)

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Gum Shoe (photo © Jaime Rojo)

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Dee Dee (photo © Jaime Rojo)

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Non-controversial lampooning cast as tough political stance, The Peralta Project is a commercial lifestyle brand that is using the street to advertise their product line, cashing in on a very popular dislike for this reality TV star. Like a mezcal company did this summer these posters are popping up to emasculate – and possible help move product. (photo © Jaime Rojo)

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Himbad for The Bushwick Collective and Mana Urban Projects. (photo © Jaime Rojo)

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Osch aka Otto Schade in London’s Brick Lane (photo © Urban Art International)

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Invader’s tribute to Andy Warhol with The L.I.S.A Project NYC. (photo © Jaime Rojo)

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Invader’s tribute to Woody Allen with The L.I.S.A Project NYC. (photo © Jaime Rojo)

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Invader’s tribute to Bugs Bunny with The L.I.S.A Project NYC. (photo © Jaime Rojo)

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Invader’s with The L.I.S.A Project NYC. (photo © Jaime Rojo)

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Le Diamantaire (photo © Jaime Rojo)

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Untitled. Blue is the warmest color. Manhattan, NYC. November 2015 (photo © Jaime Rojo)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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Faith47: “Aqua Regalia”, Mundane, Sacred

Faith47: “Aqua Regalia”, Mundane, Sacred

The mundane is made sacred in the full-wall alter created at the back of Jonathan Levine’s gallery for the first solo New York show by Faith47. Small collected ephemera is displayed in groupings of signs, cards, documents, family photos and hand painted works by the South African artist whose work on the street is large scale and at times haunting, holy.

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

As the name of the show indicates Aqua Regalia – Chapter Two is a continuation of her 2014 London exhibition at Moniker Projects and elsewhere in the show you see the artist experimenting with collage of found objects alongside of paintings on wood and canvas. Opening on a night when Manhattan was enjoying a near continuous inundating downpour, the water washes and dream-like sequences, symbols and forms were only enhanced. With references to the sanctified and the dirty politics of being human, the Aqua regalia (royal water) here is in the hands of a medium, channeling spirits with a sense of the mystic and disarming with plain truths.

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Detail. Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Detail. Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Detail. Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Detail. Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

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Faith 47 “Aqua Regalia” Detail. Jonathan LeVine Gallery. Manhattan, NY (photo © Jaime Rojo)

 

Faith 47 “Aqua Regalia” is open for the general public at Jonathan LeVine Gallery in Manhattan. Click HERE for details.

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BSA Film Friday: 11.27.15

BSA Film Friday: 11.27.15

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Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Vermibus: Unveiling Beauty: New York . Milan . London . Paris
2. Earth Crisis by Shepard Fairey
3. Vegan Flava: Abandoned Stories and Blank Spaces
4. Boijeot, Renauld, Martin: Hotel Empire. October 2015, 732 hours, New York City, United States.

 

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BSA Special Feature: Vermibus: Unveiling Beauty: New York, Milan, London, Paris

“Unveiling Beauty, as the name suggests, reveals the beauty that lies hidden behind the make-up and the photographic retouching that are used both within the fashion industry and in the way it publically stages itself via advertising.

In September 2015, Vermibus has followed the route of the most in uential Fashion Weeks, travelling to New York, London, Milan and Paris. And he analysed and revealed the true beauty that was hidden behind the various campaigns that are imposed on the public spaces of these cities.”

 

Earth Crisis by Shepard Fairey

 “I’m hoping to reach the average person, the average citizen,” says Shepard Fairey about this new project meant to correspond with the Cop21 climate change talks.

 

Vegan Flava: Abandoned Stories and Blank Spaces

“In one year I did five trips to an abandoned paper factory in Vargön, Sweden.”

 

 

Boijeot, Renauld, Martin: Hotel Empire. Octobre 2015, 732 hours, New York City, United States.

Did you miss the trip from 125th Street to the Bowery this October? Just watch this compilation of about 8,500 shots that tell the story. Warning to people who have trouble with strobe lights – this is a visual assault, albeit very educational and even entertaining. Just pause it anywhere and there is a story unfolding.

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Happy Thanksgiving from BSA

Happy Thanksgiving from BSA

“It isn’t what you have in your pocket that makes you thankful, but what you have in your heart.”

~ Author Unknown

Today we are thankful for you and we are sending love and gratitude from Brooklyn to you and your loved ones, wherever you are.

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Untitled. (photo ©Jaime Rojo)

 

 

 

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Augustine Kofie Remixing Deep Cuts in “Inventory”

Augustine Kofie Remixing Deep Cuts in “Inventory”

Newly re-mixed and sampled soulful works by Augustine Kofie are featured in the “Inventory” show that just opened here in New York at Jonathan Levine this weekend. No, he’s not looking through his storeroom of canvasses and clearing out old year-end inventory, the name refers to the “controlled hoarding” Kofie goes through to amass the muscles and skin of his 45 degree compartmentalized grid pieces.

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

He may be a crate-digging cultural magpie when collecting packaging and office supplies and jazz records and science journals that span a half century, but when he lays it down in shades of ochre and rust, golden rod and walnut, steel grey and maple, stuttering birch and enameled persimmon the rational leafing of text and texture all makes reassuring orderly, nostalgically spun and sampled sense.

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

And then there is the patch of seafoam sky, the deciduous limbic form that is not strictly geometric, the shock of hot tomato cheeks… the speckled face of a cat-eyed Doe sunnily perched in her modest bathing suit, or the closely-shorn dome of a white glove architect bending lithely toward his tilted graphite rendering. These are the human elements that anchor the shifting planes, grounding the piece, adding warmth, with good reason.

“I’m making beats,” he says as he rests with a short glass of amber spirits on Levine’s modernist office couch as the first guests flow into the gallery out front, “and those are records I’m pulling samples from.”

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

Like a studied and somatic DJ and collagist, Kofie’s segue is not limited to the auditory, and he continues to spin the metaphor when describing the visual building process for his vintage futurism. “When you are using a drum machine people are saying that it is without a soul – but I’m trying to make this electronic beat music using samples. The way I’m manipulating and maneuvering the curation of certain things – some are very focused but the majority of it is very serendipitous, off the cuff. A lot of things that I begin to do end of being covered up for of the sake of the design.”

We’ve hit on something: a cocktail of Coltrane, Marvin Gaye, Cypress Hill, Kandinsky, Eames, mid-century modernism, rusty rocket ships, Edward Murrow, Neil deGrasse Tyson, Cornel West, and Bill Nye the Science Guy and suddenly the West Coast mixologist is at the controls. “You have to go into the process like a hoarder who ultimately knows that you will have to let things go,” he says of the sharply natural math at hand.

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

“The thing looks very technical and very precise but there is a lot of fun, soulful play happening in the beginning. In order to get it on there I do have to cut up these shapes and forty-five degree angles so I can get everything in – and then see what comes up.”

“I like throwing in some of the graphical elements; portrait and people’s faces – that happens when I use the thinner paper. For this collection I’m using mostly pressed-board and packaging, which doesn’t have that many portrait graphics unless it’s a record cover I found. Literally I have a box of things and I’m sifting through. I’m like “I need this horn!”… Or Herbie Mann might have a flute that I need instead. There is a lot of picking and going through it. I enjoy that crate-digging kind of process. What ends up popping up is mostly kind of serendipity.”

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

The exhibition allows you to see a miniature version of his workshop in LA that gives stage to the inventory of found objects, ephemera, and texture, and you get a sense of the purposeful tranquil stirrings that are always at play. In tandem with the gallery show of paintings and collage he has done his first big New York wall – actually in New Jersey with Mana Contemporary.

No matter the scale, Kofie’s work is close-up and personal and he sits easily with you peering at the details. “Large wall- small collage; It’s intimate in both sizes. It’s just the approach of it, the thinking that goes behind it.”

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

Again he is creating in the moment. “For the wall in Jersey I had an initial idea before it but when I came to the wall and saw it, saw the space, looked around and I even put my back to the wall and took a look out and around and saw… Also the colors, working next to Shepard’s piece – I didn’t want it to look misplaced.”

“So I had to change everything up. Sometimes you have to go in a little blindly.”

He talks about time constraints, malfunctioning tools, and recalibrating his approach to fit the new environment. Luckily, his first decade as a serious LA graffiti writer came in handy.”Yeah a lot of the old can control tricks came out on this wall. There are some tape points, and I’ll use twine – I mean I could have brought a laser thing, I’ve done that before. I didn’t want to deal with it and I didn’t want to project the piece. I really liked the spray.”

Give him the tools and the right inventory and there will be music.

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie Inventory. Jonathan Levine Gallery. NYC. (photo © Jaime Rojo)

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Augustine Kofie mural in Jersey City, NJ for Mana Urban Arts Projects. (photo © Jaime Rojo)

 

 

For more information about Augustine Kofie Inventory at Jonathan Levine Gallery, click HERE.

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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This article is also published in The Huffington Post

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Owen Dippie with Tame Iti and a Revered Elder in Auckland, NZ

Owen Dippie with Tame Iti and a Revered Elder in Auckland, NZ

A new mural in Auckland pays tribute to a revered elder of the Tūhoe kuia named Hokimoana Tawa as part of a collaborative mural by Street Artist Owen Dippie and activist/artist Tame Iti. A first for the duo, this is a non-commisioned gift to the community from the two that is significantly close to the recent efforts at reconciliation between the police and the Tūhoe kuia people in this small town of Tāneatua.

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Owen Dippie and Tame Iti. Tuhoe Nation, New Zealand. November 2015. (photo © Erin Dippie)

Coming on the heels of a public apology by the police commissioner and his officers for an abuse of their power during raids of the community in 2007, the mural is hoped to be a fresh sign of healing, say the two artists.

According to Owen’s wife Erin, the couple traveled “to Ruatoki to stay with Tame and his lovely Partner Maria to create this mural ‘Ma mua a muri ka tika’ (the people of the past have things to say to the people of the future). Tame spoke with several Tūhoe woman and asked who they thought was the face of the nation and as a result, Hokimoana Tawa was chosen to adorn the wall.”

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Owen Dippie and Tame Iti. Tuhoe Nation, New Zealand. November 2015. (photo © Erin Dippie)

Owen says he and Tame have a great communication through their common language of art and that this may just be the first of a few more projects they will be doing together in the community. “It is an amazing collaboration between these two,” says Erin, “considering the history that has happened here in New Zealand between the crown & the people of Tuhoe.”

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Owen Dippie and Tame Iti. Tuhoe Nation, New Zealand. November 2015. (photo © Erin Dippie)

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Owen Dippie and Tame Iti. Tuhoe Nation, New Zealand. November 2015. (photo © Erin Dippie)

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Owen Dippie and Tame Iti. Tuhoe Nation, New Zealand. November 2015. (photo © Erin Dippie)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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Thomas Canto at Wunderkammern; Abstractions and Graffuturism in Space

Thomas Canto at Wunderkammern; Abstractions and Graffuturism in Space

For his first Italian solo show Still Lifes of Space Time, Thomas Canto is creating a site-specific installation at Wunderkammern and hoping to take the audience into a more participatory experience of dimension. Using video projection mapping the planes intersecting and turning will produce a 3 D effect inside the gallery that may evoke how a pedestrian experiences the navigation of an urban environment. Though not explicit in the show’s description, you will see similarities to the current Street Art movement some are calling graffuturism.

 

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Thomas Canto. Still Lifes of Space Time. Wunderkammern Gallery, Rome, Italy. (photo © Wunderkammern)

Canto told Alessandra Ioalé in Street Art Attack last year that he learned about color and gesture through graffiti and by looking at the work of graffiti artists like Futura 2000, Lokiss, Mode 2 and other American graffiti legends. “Quickly developing interest for other tools and techniques, I was soon to deviate, switching from spray-can to brushes, from wall to canvas whilst keeping urban themes drawn from graffiti, “ he said.

“The oversized shapes of the tags will mutate in vortexes and abstract universes and the walls will turn into infinite cities.” In addition to his early graffiti influences he says he draws influences from Constructivism, Suprematism, Op Art and Urban Art.

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The linear construction process: The artist in action on the wall for a client (photo © courtesy Robin Soulier Consulting)

Canto’s abstractions and entangled framed planes work well outside as much as the gallery and he created installations last year for the Nuit Blanche in Paris the Outdoor Urban Art Festival in Rome. The French artist will also present new mixed media artworks of painted wood and canvas incorporating nylon wires and plexi-glass boxes and a limited edition lithograph will be released along with a critical essay by Achille Bonito Oliva.

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Thomas Canto. Still Lifes of Space Time. Wunderkammern Gallery, Rome, Italy. (photo © Wunderkammern)

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Thomas Canto. Still Lifes of Space Time. Wunderkammern Gallery, Rome, Italy. (photo © Wunderkammern)

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Thomas Canto. Still Lifes of Space Time. Wunderkammern Gallery, Rome, Italy. (photo © Wunderkammern)

 

Thomas Canto’s Still Lifes Of Space Time is currently on view at Wunderkammern Gallery, Rome, Italy. Click HERE for more information.

 

 An earlier project from the artist called Parallax Immersion

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BSA Images Of The Week: 11.22.15

BSA Images Of The Week: 11.22.15

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Here’s our weekly interview with the street, this week featuring Carcioffola, Cern, City Kitty, COST, ENX, Invader, Isaac Cordal, Le Diamantarie, London Kaye, MSK Crew, Otto Osch, Sean 9 Lugo, Space Invader, Spaik, Stray Ones.

Top image above >>> Invader’s new series of pieces in New York is a campaign to pay tribute to some of our icons. Here is Joey Ramone at The Bushwick Collective – done in cooperation with Mana Urban Art Projects (photo © Jaime Rojo)

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Invader. Lou Reed. The Bushwick Collective/Mana Urban Art Projects (photo © Jaime Rojo)

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Invader. The Bushwick Collective/Mana Urban Art Projects (photo © Jaime Rojo)

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Invader.  Damaged almost as soon as it went up. The Bushwick Collective/Mana Urban Art Projects (photo © Jaime Rojo)

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COST. The Bushwick Collective/Mana Urban Art Projects (photo © Jaime Rojo)

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Stray Ones (photo © Jaime Rojo)

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London Kaye. The Little Prince of Bel-Air. (photo © Jaime Rojo)

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Otto Osch new piece in London, UK. (photo © Otto Osch)

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Isaac Cordal in Manhattan, NYC. (photo © Jaime Rojo)

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Isaac Cordal over looking the New York Stock Exchange in lower Manhattan, NYC. (photo © Jaime Rojo)

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Isaac Cordal in Manhattan, NYC. (photo © Jaime Rojo)

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Isaac Cordal in Manhattan, NYC. (photo © Jaime Rojo)

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Artist Studio Affordability Project protesting in front of the Brooklyn Museum about gentrification and a Real Estate event being held there. (photo © Jaime Rojo)

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Carcioffola new piece in Naples, Italy. (photo © Carcioffola)

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Sean 9 Lugo (photo © Jaime Rojo)

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Modern Love. We are not sure who did this or if it’s a Holiday Ad. It reminded us of the work of a collective who was active in the early 2000’s under the name of Eternal Love. (photo © Jaime Rojo)

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Cernesto brings all his lil’ characters on parade on this wall. (photo © Jaime Rojo)

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Cernesto (photo © Jaime Rojo)

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MSK Crew(photo © Jaime Rojo)

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Spaik in Bordeaux, France. (photo © Jaime Rojo)

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Le Diamantarie (photo © Jaime Rojo)

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ENX (photo © Jaime Rojo)

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City kitty (photo © Jaime Rojo)

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Untitled. Bushwick, Brooklyn. November, 2015. (photo © Jaime Rojo)

 

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Skount and the Projected Mask of Self

Skount and the Projected Mask of Self

Periodically it is a worthy practice to consider how many masks one wears, and why.

What are you projecting? What are you concealing? Or are you simply an open book for all to read, no constructed identity whatsoever; just a fresh wholesome apple growing on this tree ready to be picked?

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

99%ers, Occupiers, and Anonymous activists are wearing Guy Fawkes masks to project a unifying image of breaking a corrupt system and preventing identifying individuals. In their highly produced and staged videos so-called ISIS members are concealing their identities from those who would like to know exactly who they are and who is backing them and to instill the fog of general fear. This years most talked about Halloween mask in New York was the Donald Trump mask,  perhaps as a way to express disgust and derision of the person depicted as well as to deliberately evoke our fears that such an aggressive ignoramus might win any election, let alone for, you know, President of the US.

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

Spanish-now-Amsterdam-based Street Artist and fine artist Skount has been examining masks in his work for a few years from a historical perspective as they relate to social identity as well as in performance, theater, and the sacred. Often we observe that his figures’ faces provide opportunity to travel into space or mystic realm, his costumes rich with folk traditions and magic.

More recently he says that his examination has become more personal, with considerations of Freud’s studies a hundred and twenty years ago into the mechanisms of shielding ourselves psychologically with our constructed masks, deflecting critical analysis of our defects, projecting our virtuous aspects.

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

In this new collection of works for Skount’s opening of “Projections: Internal latent” in Gold Coast, Australia tonight at the 19 karen Gallery, Skount is inspired by the inner self as it may be expressed via classic theater, cultural ornamentation, and our concept of deity. Using traditional painting he incorporates hand-made glass collage and even LED lights  to reflect an inner universe, invariably projected outward – an alchemy of presentation for all to see, and perhaps to hide behind.

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

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Skount. Projections – Internal Latent at 19 Karen Contemporary ArtSpace. Australia. (photo © Skount)

 

 

 

Skount Projections – Internal Latent opens today at 19 Karen Contemporary ArtSpace in Gold Coast, Austrailia. Click HERE for more details.

 

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BSA Film Friday: 11.20.15

BSA Film Friday: 11.20.15

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Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Beat Rockers: Keeping The Beat Alive
2. Art Start’s Family Portrait Project #SeeMeBecause
3. The Bucket Board
4. Heliotrope Foundation, Braddock Tiles
5. Willie Mae Rock Camp for Girls
6. Zarif Zolay

 

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BSA Special Feature: Six Non-Profits We Love

Last week we checked out the new JR short film “Ellis” as part of 800 or so screenings his folks have been hosting around the world in small venues for two weeks, lawsuit notwithstanding, and really enjoyed the opportunity to see his poetic take on New York’s immigrant story.

But the short pieces that played before the featured presentation really got our hearts pounding with love and pride for our fellow New Yorkers like nobody’s business. These hard working people were not born with silver spoons but you will agree that they are spinning gold, doing the hard work, keeping it real, and making us proud. Also, each one of the principals from the organizations were actually there to speak with us all – which made their intentions authentic and that much more compelling.

Please take a look at each one of these videos and see if you are impressed as well. Special thanks to Lisa Shimamura of Colab (colab-projects.com)  for putting together a great evening and for telling us more about their work. Please reach out to any of these organizations to lend a hand if you are moved to.

Beat Rockers: Keeping The Beat Alive

“Non-profit organization. B.E.A.T. introduces the art of beatboxing to students at The Lavelle School for the Blind. Tapping into the students’ love for music, the results are exuberant and resonant – just as good music should be. // Directed by Ryan Staake”

Learn more about B.E.A.T. & its instructors:
beatnyc.org/
soundcloud.com/taylor-mcferrin
facebook.com/BEATSMYTH

 

Art Start’s Family Portrait Project #SeeMeBecause

“For 25 years, Art Start has nurtured the voices hearts and minds of homeless youth through the creative process. Through years of creative collaborations, we have found that how society sees Art Start families is not how they see themselves. Art Start’s Family Portrait Project is a multimedia exhibition that partners with New York City families experiencing homelessness to present their powerful stories, hopeful voices, and loving images in their own voices – sharing with the world how they want to be seen.”

Meet the families of The Family Portrait Project on their Vimeo Channel, and learn more about Art Start at: art-start.org

The Bucket Board

“When artist Mac Premo was asked by WWF-UK and Do the Green Thing to show how creativity can encourage people to live a greener lifestyle, he partnered with Sanford Shapes to make skateboard decks out of upcycled material. When the prototype proved successful, the idea shifted from figuring out how to make skateboards out of trash to how to give them to kids who otherwise wouldn’t have skateboards.”


VISIT THE SITE: thebucketboard.org

Heliotrope Foundation, Braddock Tiles

“Braddock Tiles will be a community based artisanal micro-factory located in a formerly abandoned church in North Braddock Pennsylvania whose first venture will be to hand produce the 20,000 beautifully colored ceramic tiles needed to give its landmark structure a new roof.

A project initiated by the artist Swoon, the Braddock Tile factory will be a part of a larger context of neighborhood-based art making taking place in this once blighted section of North Braddock.

The building, upon restoration to full capacity, will become the seat of an arts focused learning and resource center, and, a museum of the possible in the shell of something once left behind.”

 

Willie Mae Rock Camp for Girls

“Willie Mae Rock Camp for Girls is a non-profit music and mentoring program that empowers girls and women through music education, volunteerism, and activities that foster self-respect, leadership skills, creativity, critical thinking, and collaboration.”

Zarif Zolay

Zolaykha Sherzad is a  New York-based Afghan, who founded and runs fashion design firm Zarif, headquartered in Kabul. “When I was growing up in exile, school was a place of escape for me, a haven, where everything was ordered and the other children didn’t think about war or chaos in Kabul. I wanted Zarif to be a little bit like that for the people who worked here.”

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The Yok & Sheryo: Danger, Adventure and “Shadow”

The Yok & Sheryo: Danger, Adventure and “Shadow”

Here are some sneak peeks and behind the scenes photos with the Australian-Singaporean Street Art/graffiti/fine art duo named Sheryo and The Yok in advance of their brand new show, “Shadow”, opening tonight at Brooklyn’s Masters Projects in DUMBO. We had the opportunity to speak with both of them during their preparations in Bed Stuy last week and we gained some valuable insight into what inspires them both and what the working dynamic is of this “Danger Couple”, as they are sometime referred to as.

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The Yok & Sheryo (photo © Jaime Rojo)

The “danger” here probably speaks to their mutual love of adventures and the borderline disasters they run into during their world travels off the beaten path – which thus far have taken them to Tokyo, Sydney, Taipei, Beijing, Singapore Bangkok, Mexico, Vietnam, and Hong Kong, among other places. If you’ve never seen their unhinged freeform spraycation videos, don’t wait any longer. In terms of combining their inner demons it looks like putting them on display in their works is a therapeutic way of taking the sting away. With their unique collaborative sketching and painting style it may be a palliative treatment that they are giving to life’s real dangers and fears that is working so well – by depicting fears and disgusting circumstances as wild boars and wildebeests and other creatures, comically portrayed with a touch of grotesque and sometimes a slice of pizza.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

The Yok and Sheryo’s affinities for adventure and collaboration still include catching an illegal tag occasionally under cover of darkness, but they have also led them to a serious study of how to do ceramics, Batik and sculpture in Indonesia, and to refining and developing chaotic and progressively more elaborate murals. The last half decade of intermingling their gnarly monsters and animals with bulging eyes and horrifying/funny expressions is resulting in a recognizable Yok and Sheryo aesthetic, and one that continues to take it up a notch with their combined style resulting from the two pouring themselves into one. In terms of a working dynamic, the two friends credit their naturally competitive relationship for pushing each other to better their techniques and to reach deeper creatively as artists.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

In preparation for their show that opens at Masters Projects in Brooklyn tonight, we stopped by their digs in Bedstuy, Brooklyn to talk about their work and to shoot a few teaser shots from tonights’ show.

BSA: Your show is titled “Shadow” and will be comprised of works on paper and sculptures. What is the inspiration for this new show?
The Yok: Some of the works on paper are loosely based on the sculptures in the show and they are imbued with many personal stories and personal references – like the one depicting the bicycle for instance. It refers to the people who like to steal the wheels off of my bicycles in Brooklyn. They are also homage to the places that we have visited or lived in. You can see a New York bodega bag or the Greek coffee cup. All of our work is based on experiences we’ve had or places we have been to.

BSA: Would you say that the inspiration for this show is a little bit of a compilation of your diaries? For how long?
Yok: Yes. It is an accumulation of stuff that we have written in our sketch books but it’s always evolving because we keep adding new stuff as we move.

Sheryo: Yes, we write or draw what we see in our black books. Then when we get to a place and we need to make work for a show we just look to our diaries for inspiration and as a resource. It is very cool because we see a lot of things. When we were making the sculptures we were in Indonesia – so this piece here has a lot of what we experienced in Indonesia. It has a lot of jungle references and to batik textiles. Also in the show there’s a sculpture of Satan surfing – and it’s represented on this piece.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

BSA: Can you tell us how you got into Batik?
Yok: Sheryo really wanted to learn the craft because she loved the look of it and I like surfing. So we went to this island that has the best batik in the world and some of the best waves. We rented a motor bike in the town and we rode for 40 minutes to this mountain town where they make all the Batik. We walked around and look into a lot of places until we found one that would let us learn the craft.

We didn’t know the language. They were very nice to let us into their village to learn Batik for like a month – every day for eight hours a day. It is really difficult to get the hang of it because all the wax is in liquid form and you need to be very precise to get the wax to do what you want it to do. If the wax is too hot it runs all over the place and spreads out so you need to work very fast. So you need a lot of practice – and it is harder than spray painting! Those batik pieces are not on this show but those experiences are still with us.

BSA: Do you include bad experiences from your travels in your pieces?
Sheryo: Yes but we turn them into funny things so we can laugh about it. So an accident would turn into a mad character in a motorcycle. We actually were in a bad motorbike accident in Indonesia. We were going down a road to get supplies and the roads are terrible and this bus was coming straight into us. We managed to survive. In Thailand we were chased by a pack of ferocious big dogs. We were in a dark alley. The Yok tried to scare them away by doing the “windmill” with his arms but more and more dogs kept coming out. Yok: But Sheryo stepped in and acted crazy and that was enough to scare the dogs away.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

BSA: For how long have you been collaborating artistically? Was there a moment, or project, when you felt that your styles had completely melded with one another?
The Yok: Five years. We started playing this game we call “you start, I finish”. One of us begins the drawing and passes it to the other one and says “OK you finish it.” And that became quiet a natural thing for us to do. Like Sheryo will just come and get my drawing and add to it. She will give it back to me and either would like or not like it and we go back and forth like that. But if I paint a whole piece by myself it might be that I stole an idea from her sketch book to include in the piece. I might have painted the whole thing but the process of back and forth is so fluid now that I couldn’t say with certainty where that foot came from or that use of line etc…

Sheryo: We also get competitive too. So if he draws a good hand I’ll go like, “I’m going to make it better,” so I steal his hand. So if I see his hand coming much better after that I’ll go, “Damn it I’m going to make it even better!” We have become better doing it this way and it has improved our craft and that’s how our styles have melded together as well. The competitive nature of our characters have made us better artists but also we have gotten more drive and motivation working together and we have improved very fast in a short period of time.

The Yok: I think I wouldn’t be doing nearly as much work as I currently am without Sheryo because she is so motivated to paint every day. It pushes me to be more creative.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

Sheryo: When we first met five years ago we immediately began drawing together and I remember the first piece we did together and I was looking at it and I said, “This actually looks good”. So our work together has been fine tuned in these five years and it is getting better and now it is very hard for people to distinguish the one from the other. Also our visions for where we want to go with our careers are very similar so the collaboration between us doesn’t seem forced. It seems very natural.

BSA: You also have a great sense of humor…
The Yok: We find it funny to draw things that are supposed to be scary – doing something silly like surfing, or using their iPhones etc…

BSA: Any thoughts on the prevalence of red, black and white in your works – as well as other artists on the street like How Nosm, Shepard Fairey …
Sheryo: We like red and black for two reasons: One, the combination of red and black is a very powerful even historically – like the NAZI party used that combination of colors. Red is very strong, the communists used it. Also red has been used through Chinese history. Secondly, you can always find these colors in the most weird places in any corner of the world. These two colors are always there. Also we have been adding a little bit of gold to the palate and we discovered it in Cambodia and began using it ever since as an accent. We also valued the line work in our work and using those three colors is a good way to bring the line work out, so the less colors you have the more emphasis you put on the line work.

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The Yok & Sheryo. Detail. (photo © Jaime Rojo)

BSA: Can you describe the process of moving two dimensional work into three dimensions?
Sheryo: We began doing ceramics in Vietnam.

BSA: How was it?
The Yok: Sheryo had an idea and she really wanted to do it. We both thought “what a wonderful way it would be to experience the culture first hand” – to go away from the tourist areas and go to the villages and getting to know the locals in a very natural way, like spending hours a day with them for a month. Painting those vases is a very intricate labor and very time consuming. We spend two weeks there and every day we’ll go to the village to paint ceramics and on the last night they took us out to dinner and we went to Karaoke.

They really didn’t speak English at all but somehow knew all the words to the songs in English. We did research to find where to go to learn the ceramics and we also asked the locals. Everyone was telling us the same village. We wanted to pay them for the lessons but they refused to take our money. They told us this is our gift to you. There really is a lot of kindness in this world.

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The Yok & Sheryo at work in Indonesia.  (re-photo from their computer © Jaime Rojo)

BSA: Doing ceramics is entirely different from what you have done in the past, including Batik. Was it difficult to learn?
Sheryo: Diversity is important for us because it keeps things fresh and interesting and it keeps our minds alive. Changing the medium is a fun way to do that. In the case of the ceramics it was interesting because we were painting contemporary elements with new colors on vessels that stylistically are very old. So it is the old and the new merged together.

The Yok: It was very difficult to paint on the ceramics, first because we had never done it before. I didn’t like it, but because it is so hard that at the end it is very rewarding when you finally get it. It is like the proverb that says something like “you need to hate it first to love it”. We try to stay in New York for longer periods but at the same time we feel like we need to travel so we can get inspired and learn new things.

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The Yok & Sheryo at work in Indonesia.  (re-photo from their computer © Jaime Rojo)

BSA: Would you describe your characters as aspects of your imagination and your personalities as individuals?
Sheryo: The characters are a mix. From what’s inside our heads and from what we see. But we also try to draw from the local environment when we travel to other places. It is also a great way to make a connection with the locals.

The Yok: That’s why at the beginning we said that our work is kind of like a diary. We paint things that are in direct relation to the country where we are – but also we paint things that happened to us in the country where we are.

BSA: Do you like to work solo sometimes too?
Sheryo: At the moment we are very happy doing what we are doing, working together and exhibiting together.

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The Yok & Sheryo at work in Indonesia.  (re-photo from their computer © Jaime Rojo)

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The Yok & Sheryo in Indonesia.  (re-photo from their computer © Jaime Rojo)

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The Yok & Sheryo in Indonesia.  (re-photo from their computer © Jaime Rojo)

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The Yok & Sheryo (photo © Jaime Rojo)

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The Yok & Sheryo (photo © Jaime Rojo)

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The Yok & Sheryo (photo © Jaime Rojo)

 

The Yok & Sheryo exhibition “Shadow” opens today at Masters Projects. Click HERE for details.

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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